Jessa Rhodes, new boobs & lips on display, shines in Liselle Bailey's sensitive romance for Dorcel "The Horse Rider". It's perhaps the best release to date from the French maestro in the interesting Adult genre of stories set in an equestrian milieu.
I recently watched an excellent Stateside example of the form, Stormy Daniels' romance "Unbridled", and this one stacks up nicely. Big difference is that while Stormy prides herself on the dialog in her screenplays, Bailey enacts this saga in pantomime, the favored format for a Dorcel feature. In fact, there is only one line spoken for the entire two hours, with our humble narrator Jessa speaking the words as we see co-star Xander Corvus mouthing them: "Daddy's gone, Jessa", referring to her film-long funk after the death of her beloved daddy, and the need to start a new life.
Story concerns her being forced to sell the estate after inheriting her father's debts, which will leave her and lovely step-sister Clea Gaultier high and dry. Clea has become a libertine, and much of the film centers on her setting a bad example, sleeping with all sorts of men while Jessa rides her beloved horses and mopes.
It's a highly romantic movie with Liselle's attention to detail making it play almost like a real movie, if a Silent Era one at that. Performances by the leads are quite good, with a slicked-up Corvus (no facial hair or piercings from his recent punk period) making a dashing foil in the "is he a cad or a good guy?" art dealer storyline, as he is buying the estate. Sex scenes are up to snuff, with blonde stable girl Cayla Lyons and busty blonde fellow libertine Clea's friend Katy Jayne (a British model) making a good impression. Surprise happy ending is satisfying and with just a touch of romantic ambiguity to keep it from being entirely cornball.
Filmed on a couple of attractive rural British locations, this continues Bailey's winning streak as by far Dorcel's finest director.
I recently watched an excellent Stateside example of the form, Stormy Daniels' romance "Unbridled", and this one stacks up nicely. Big difference is that while Stormy prides herself on the dialog in her screenplays, Bailey enacts this saga in pantomime, the favored format for a Dorcel feature. In fact, there is only one line spoken for the entire two hours, with our humble narrator Jessa speaking the words as we see co-star Xander Corvus mouthing them: "Daddy's gone, Jessa", referring to her film-long funk after the death of her beloved daddy, and the need to start a new life.
Story concerns her being forced to sell the estate after inheriting her father's debts, which will leave her and lovely step-sister Clea Gaultier high and dry. Clea has become a libertine, and much of the film centers on her setting a bad example, sleeping with all sorts of men while Jessa rides her beloved horses and mopes.
It's a highly romantic movie with Liselle's attention to detail making it play almost like a real movie, if a Silent Era one at that. Performances by the leads are quite good, with a slicked-up Corvus (no facial hair or piercings from his recent punk period) making a dashing foil in the "is he a cad or a good guy?" art dealer storyline, as he is buying the estate. Sex scenes are up to snuff, with blonde stable girl Cayla Lyons and busty blonde fellow libertine Clea's friend Katy Jayne (a British model) making a good impression. Surprise happy ending is satisfying and with just a touch of romantic ambiguity to keep it from being entirely cornball.
Filmed on a couple of attractive rural British locations, this continues Bailey's winning streak as by far Dorcel's finest director.